1.
André, N.A.: Black opera: history, power, engagement. University of Illinois Press, Urbana (2018).
2.
Andre, N.: Black Opera: History, Power, Engagement. University of Illinois Press, Champaign (2018).
3.
Beckerman, M.B.: Dvorák and His World. Princeton University Press, Princeton, N.J. (1993).
4.
Beckerman, M.B.: Dvorak and His World. Princeton University Press, Princeton, N.J. (1993).
5.
Bellman, J.: The Exotic in Western Music. Northeastern University Press, Boston (1998).
6.
Berger, H., Carroll, M.T.: Global pop, local language. University Press of Mississippi, Jackson, Miss (2003).
7.
Berger, H.M., Carroll, M.T.: Global Pop, Local Language. University Press of Mississippi, Jackson, UNITED STATES (2003).
8.
Born, G., Hesmondhalgh, D.: Western Music and Its Others: Difference, Representation, and Appropriation in Music. University of California Press, Berkeley (2000).
9.
Hesmondhalgh, D., Born, G.: Western Music and Its Others : Difference, Representation, and Appropriation in Music. University of California Press, Berkeley, UNITED STATES (2000).
10.
Francaviglia, R.V.: Go east, young man: imagining the American West as the Orient. Utah State University Press, Logan, Utah (2011).
11.
Francaviglia, R.V.: Go East, Young Man: Imagining the American West as the Orient. Utah State University Press, Logan (2011).
12.
Locke, R.P.: Music and the exotic from the Renaissance to Mozart. Cambridge University Press, Cambridge (2017).
13.
Locke, R.P.: Music and the Exotic From the Renaissance to Mozart. (2015).
14.
Locke, R.P.: Musical exoticism: images and reflections. Cambridge University Press, Cambridge (2009).
15.
Machin-Autenrieth, M., University of London. School of Oriental and African Studies: Flamenco, regionalism and musical heritage in southern Spain. Routledge, London (2017).
16.
Machin-Autenrieth, M.: Flamenco, Regionalism, and Musical Heritage in Southern Spain. Routledge, London (2017).
17.
MacKenzie, J.M.: Orientalism: History, Theory, and the Arts. Manchester University Press, Manchester (1995).
18.
Pisani, M.V.: Imagining native America in music. Yale University Press, New Haven, Conn (2005).
19.
Taruskin, R.: Defining Russia Musically: Historical and Hermeneutical Essays. Princeton University Press, Princeton, N.J (1997).
20.
Taruskin, R.: The Oxford History of Western Music: Vol. 3: Music in the Nineteenth Century. , Oxford University Press (2010).
21.
Taruskin, R.: Music in the Nineteenth Century. Oxford University Press, Oxford (2010).
22.
Taylor, T.D.: Beyond Exoticism: Western Music and the World. Duke University Press, Durham (2007).
23.
Bloechl, O.A.: Native American song at the frontiers of early modern music. Cambridge University Press, Cambridge (2008).
24.
Bové, P.A.: Edward Said and the work of the critic: speaking truth to power. Duke University Press, Durham (2000).
25.
Ayres, B.: The Emperor’s Old Groove: Decolonizing Disney’s Magic Kingdom. P. Lang, New York (2003).
26.
Williams, C.: Gilbert and Sullivan: gender, genre, parody. Columbia University Press, New York (2012).
27.
Ashcroft, B., Ahluwalia, P.: Edward Said. Routledge, New York (2001).
28.
Ashcroft, B., Ahluwalia, D.P.S.: Edward Said. Routledge, London (2009).
29.
Said, E.: Chapter 1: The Scope. In: Orientalism. Penguin, London (2003).
30.
Said, E.W.: Introduction. In: Culture and Imperialism. Vintage, London (1994).
31.
Scott, D.B.: Orientalism and Musical Style. The Musical Quarterly. 82, (1998).
32.
Lewis, B.: The Question of Orientalism. The New York Review of Books. (1982).
33.
Mackenzie, J.M.: Chapter 1: The Orientalism Debate. In: Orientalism: History, Theory, and the Arts. Manchester University Press, Manchester (1995).
34.
Head, M.: Orientalism, Masquerade and Mozart’s Turkish Music. Royal Musical Association, London (2000).
35.
Hunter, M.: The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio. In: The Exotic in Western Music. Northeastern University Press, Boston (1998).
36.
Melman, B.: Women’s Orients: English Women and the Middle East, 1718-1918: Sexuality, Religion and Work. Macmillan, Basingstoke (1990).
37.
O’Connell, J.M.: In the Time of Alaturka: Identifying Difference in Musical Discourse. Ethnomusicology. 49, (2005).
38.
Pratt, M.L.: Imperial Eyes: Travel Writing and Transculturation. Routledge, London (1992).
39.
Pratt, M.L.: Imperial Eyes: Travel Writing and Transculturation. Routledge, London (1992).
40.
Wolff, L.: The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage From the Siege of Vienna to the Age of Napoleon. Stanford University Press, Stanford (2016).
41.
Bellman, J.D.: Musical Voyages and Their Baggage: Orientalism in Music and Critical Musicology. The Musical Quarterly. 94, (2011).
42.
Head, M.: Musicology on Safari: Orientalism and the Spectre of Postcolonial Theory. Music Analysis. 22, (2003).
43.
Locke, R.P.: Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East. 19th-Century Music. 22, 20–53 (1998). https://doi.org/10.2307/746790.
44.
Locke, R.P.: On Exoticism, Western Art Music, and the Words We Use. Archiv für Musikwissenschaft. (2012).
45.
Pasler, J.: Theorizing Race in Nineteenth-Century France: Music as Emblem of Identity. The Musical Quarterly. 89, (2006).
46.
Bohlman, P.V.: The European Discovery of Music in the Islamic World and the ‘Non-Western’. The Journal of Musicology. 5, 147–163 (1987). https://doi.org/10.2307/763849.
47.
Cooke, M.: "The East in the West”: Evocations of the Gamelan in Western Music. In: The Exotic in Western Music. Northeastern University Press, Boston (1998).
48.
Locke, R.P.: Musical exoticism: images and reflections. Cambridge University Press, Cambridge (2009).
49.
Andre, N.: Conclusion: Engaged Musicology, Political Action, and Social Justice. In: Black opera: history, power, engagement. University of Illinois Press, Urbana (2018).
50.
Andre, N.: Conclusion: Engaged Musicology, Political Action, and Social Justice. In: Black Opera: History, Power, Engagement. University of Illinois Press, Champaign (2018).
51.
Locke, R.P.: Constructing the Oriental ‘Other’: Saint-Saëns’s “Samson et Dalila”. Cambridge Opera Journal. 3, (1991).
52.
Locke, R.P.: Reflections on Orientalism in Opera (And Musical Theater). Revista de Musicología. 16, (1993). https://doi.org/10.2307/20796920.
53.
Greenwald, H.M.: Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s ‘Madama Butterfly’. Cambridge Opera Journal. 12, (2000).
54.
Groos, A.: Cio-Cio-San and Sadayakko: Japanese Music-Theater in Madama Butterfly. Monumenta Nipponica. 54, (1999). https://doi.org/10.2307/2668273.
55.
Lee, J.D.: The Japan of pure invention: Gilbert and Sullivan’s The Mikado. University of Minnesota Press, Minneapolis, Minn (2010).
56.
Locke, R.P.: Musical exoticism: images and reflections. Cambridge University Press, Cambridge (2009).
57.
Williams, C.: Gilbert and Sullivan: gender, genre, parody. Columbia University Press, New York (2012).
58.
Yoshihara, M.: The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood. American Quarterly. 56, (2004).
59.
Cruz, G.: Aida’s Flutes. Cambridge Opera Journal. 14, (2002).
60.
Seta, F.D., Groos, A.: ‘O cieli azzurri’: Exoticism and Dramatic Discourse in “Aida”. Cambridge Opera Journal. 3, (1991).
61.
Guarracino, S.: Verdi’s Aida Across the Mediterranean (And Beyond). California Italian Studies. 1, (2010).
62.
Huebner, S.: ‘O patria mia’: Patriotism, Dream, Death. Cambridge Opera Journal. 14, (2002).
63.
Locke, R.P.: Beyond the Exotic: How ‘Eastern’ Is Aida? Cambridge Opera Journal. 17, (2005).
64.
Robinson, P.: Is ‘Aida’ an Orientalist Opera? Cambridge Opera Journal. 5, (1993).
65.
Said, E.W.: The Imperial Spectacle. Grand Street. 6, (1987). https://doi.org/10.2307/25006961.
66.
Large, B., Levin, J.: Aida: Opera in Four Acts, https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2123053850002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,aida&sortby=rank&facet=rtype,include,media&offset=0.
67.
Beckerman, M.: The Master’s Little Joke: Antonín Dvořák and the Mask of Nation. In: Dvorák and His World. Princeton University Press, Princeton, N.J. (1993).
68.
Francaviglia, R.V.: Go east, young man: imagining the American West as the Orient. Utah State University Press, Logan, Utah (2011).
69.
Francaviglia, R.V.: Go East, Young Man: Imagining the American West as the Orient. Utah State University Press, Logan (2011).
70.
Perlove, N.: Inherited Sound Images: Native American Exoticism in Aaron Copland’s Duo for Flute and Piano. American Music. 18, (2000). https://doi.org/10.2307/3052390.
71.
Rosenberg, R.E.: Among Compatriots and Savages: The Music of France’s Lost Empire. The Musical Quarterly. 95, (2012).
72.
Browner, T.: Music of the First Nations: Tradition and Innovation in Native North America. University of Illinois Press, Urbana (2009).
73.
Gorbman, C.: Scoring the Liberal Western. In: Western Music and Its Others: Difference, Representation, and Appropriation in Music. University of California Press, Berkeley (2000).
74.
Pisani, M.V.: Imagining native America in music. Yale University Press, New Haven, Conn (2005).
75.
Piotrowska, A.G.: About Twin Song Festivals in Eastern and Western Europe: Intervision and Eurovision. International Review of the Aesthetics and Sociology of Music. 47, (2016).
76.
Tragaki, D.: The Monsters’ Dream: Fantasies of the Empire Within. In: Tragaki, D. (ed.) Empire of song: Europe and nation in the Eurovision Song Contest. The Scarecrow Press, Lanham (2013).
77.
Solomon, T.: The Oriental Body on the European Stage: Producing Turkish Cultural Identity on the Margins of Europe. In: Tragaki, D. (ed.) Empire of song: Europe and nation in the Eurovision Song Contest. The Scarecrow Press, Lanham (2013).
78.
Gumpert, M.: ‘Everyway That I Can’: Auto-Orientalism at Eurovision 2003. In: A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Ashgate, Aldershot (2007).
79.
Bohlman, P.V.: World Music: A Very Short Introduction. Oxford University Press, Oxford (2002).
80.
Booth, M.W.: Campe-toi! On the Origins and Definitions. In: Camp. Quartet, London (1983).
81.
Shay, A., Sellers-Young, B.: Belly Dance: Orientalism: Exoticism: Self-Exoticism. Dance Research Journal. 35, (2003).
82.
Raykoff, I.: Camping on the Borders of Europe. In: A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Ashgate, Aldershot (2007).
83.
Björnberg, A.: Return to Ethnicity: The Cultural Significance of Musical Change in the Eurovision Song Contest. In: A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Ashgate, Aldershot (2007).
84.
Lemish, D.: Gay Brotherhood: Israeli Gay Men and the Eurovision Song Contest. In: A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Ashgate, Aldershot (2007).
85.
Swedenburg, T.: Saida Sultan/Danna International: Transgender Pop and the Polysemiotics of Sex, Nation, and Ethnicity on the Israeli-Egyptian Border. The Musical Quarterly. 81, (1997).
86.
Born, G., Hesmondhalgh, D.: Introduction: On Difference, Representation and Appropriation in Music. In: Western Music and Its Others: Difference, Representation, and Appropriation in Music. University of California Press, Berkeley (2000).
87.
Feld, S.: A Sweet Lullaby for World Music. Public Culture. 12, 145–171 (2000). https://doi.org/10.1215/08992363-12-1-145.
88.
Feld, S.: The Poetics and Politics of Pygmy Pop. In: Western Music and Its Others: Difference, Representation, and Appropriation in Music. University of California Press, Berkeley (2000).
89.
Feld, S.: Pygmy POP. A Genealogy of Schizophonic Mimesis. Yearbook for Traditional Music. 28, (1996). https://doi.org/10.2307/767805.
90.
Meintjes, L.: Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning. Ethnomusicology. 34, (1990). https://doi.org/10.2307/852356.
91.
Taylor, T.D.: Some Versions of Difference: Discourses of Hybridity in Transnational Musics. In: Beyond Exoticism: Western Music and the World. Duke University Press, Durham (2007).
92.
White, B.W.: Music and Globalization: Critical Encounters. Indiana University Press, Bloomington (2012).
93.
Willson, R.B.: The Parallax Worlds of the West–Eastern Divan Orchestra. Journal of the Royal Musical Association. 134, 319–347 (2009). https://doi.org/10.1080/02690400903109109.
94.
Cheah, E.: An Orchestra Beyond Borders: Voices of the West-Eastern Divan Orchestra. Verso, London (2009).
95.
Beckles Willson, R.: Whose Utopia? Perspectives on the West-Eastern Divan Orchestra. Music & Politics. 3, (2009).
96.
Etherington, B.: Instrumentalising Musical Ethics: Edward Said and the West-Eastern Divan Orchestra. Australasian Music Research. 121–129 (2007).
97.
Riiser, S.: National Identity and the West-Eastern Divan Orchestra. Music and Arts in Action. 2, 19–37 (2010).
98.
Winegar, J.: The Humanity Game: Art, Islam, and the War on Terror. Anthropological Quarterly. 81, (2008).
99.
Fink, R.: Klinghoffer in Brooklyn Heights. Cambridge Opera Journal. 17, (2005). https://doi.org/10.1017/S0954586705001989.
100.
Longobardi, R.S.: Re-Producing Klinghoffer: Opera and Arab Identity Before and After 9/11. Journal of the Society for American Music. 3, (2009). https://doi.org/10.1017/S1752196309990435.
101.
May, T.: The John Adams Reader: Essential Writings on an American Composer. Amadeus, Pompton Plains, N.J. (2006).
102.
Taruskin, R.: Music’s Dangers And The Case For Control: The Dangers of Music and the Case for Control. New York Times (1923-Current file). (2001).
103.
Adams, J., Woolcock, P., Goodman, A.: The Death of Klinghoffer, https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2132060420002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab2&query=any,contains,The%20death%20of%20Klinghoffer&sortby=date&facet=frbrgroupid,include,1288048280&offset=0, (2003).